PS35-C7 




S 3507 
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jrnational Copyrighted (in England, her Colonies, and 
States) Edition of the Works of the Best Authors 



No. 280 



"IN 1999" 



a problem jplag of tbe future 



BY 
WILLIAM C. de MILLE 



Copyright, 1914 p.y A. G. de Mille 



ALL RIGHTS RESERVED 

CAUTION.— Amateurs and Professionals are hereby warned that 
"IN 1999," being fully protected under the copyright laws of the 
United States, is subject to royalty, and any one presenting the 
play without the consent of the author or his authorized agent will 
be liable to the penalties by law provided. All applications for 
amateur performances of "IN 1999" must be made to SAMUEL 
FRENCH, 28-30 West 38th St., New York. 



Price 30 Cents 



New York 
• SAMUEL FRENCH 

PUBLISHER 

28-30 WEST 38tu Street 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 



*■**«*. 



*p»j 



THE REJUVENATION OF AUNT MARY. 

The famous comedy in three acts, by Anne Warner. 7 males, 6 
females. Three interior scenes. Costumes modern. Plays 2 J4 hours. 

This is a genuinely funny comedy with splendid parts for "Aunt 
Mary," "Jhck," her lively nephew; "Lucinda," a New England an- 
cient maid ipf all work; "Tack's" three chums; the Girl "Jack" loves; 
"Joshua," Aunt Mary's hired man, etc. 

"Aunt Mary" was played by May Robson in New York and on tour 
for over two years, and it is sure to be a big success wherever pro- 
duced. We strongly recommend it. Price, 60 Cents. 



MRS. BUMSTEAD-LEIGH. 

A pleasing- comedy, in three actp, by Harry James Smith, author of 
"The Tailor-Made Man." 6 males, 6 females. One interior scene. 
Costumes modern. Plays 2J4 hours. 

Mr. Smith chose for his initial comedy the complications arising 
from the endeavors of a social climber to land herself in the altitude 
peopled by hyphenated names — a theme permitting innumerable com- 
plications, according to the spirit of the writer. 

This most successful comedy was toured for several seasons by Mrs. 
Fiske with enormous success. Price, 60 Cents. 



MRS. TEMPLES TELEGRAM. 

A most successful farce in three acts, by Frank Wyatt and Wil- 
liam Morris. 5 males, 4 females. One interior scene stands through- 
cut the three acts. Costumes modern. Plays 2Yi hours. 

"Mrs. Temple's Telegram" is a sprightly farce in which there is 
an abundance of fun without any taint of impropriety or any ele- 
ment of offence. As noticed by Sir Walter Scott, "Oh, what a 
tangled web we weave when first we practice to deceive." 

There is not a dull moment in the entire farce, and from the time 
the curtain rises until it makes the final drop the fun is fast and 
furious. A very exceptional farce. Price, 60 Cents. 



THE NEW CO-ED. 

A comedy in four acts, by Marie Doran, author of "Tempest and 
Sunshine," etc. Characters, 4 males, 7 females, though any number 
of boys and girls can be introduced in the action of the play. One 
interior and one exterior scene, but can be easily played in one inte- 
rior scene. Costumes modern. Time, about 2 hours. 

The theme of this play is the coming of a new student to the col- 
lege, her reception by the scholars, her trials and final triumph. 

There arc three especially good girls' parts, Letty, Madge and 
Estelle, but the others have plenty to do. "Punch" Doolittle and 
George Washington Watts, a gentleman of color, are two particularly 
gobd comedy characters. We can strongly recommend "The New 
Co-Ed" to high schools and amateurs. Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New YorkCltv 

New and Explicit Dcscriprive Catalogue Mailed Free on Reoueat 



"IN 1999" 



B problem flMag of tbe ^future 



BY 

WILLIAM C. de MILLE 



Copyright, 1914, by A. G. de Mille 



ALL RIGHTS RESERVED 



CAUTION.— Amateurs and Professionals are hereby warned that 
"IN 1999," being fully protected under the copyright laws oi the 
United States, is subject to royalty, and any one presenting the 
play without the consent of the author or his authorized agent will 
be liable to the penalties by law provided. All applications for 
amat'ur performances of "IN 1999" must be made to SAMUEL 
FRENCH. 28-30 West 38th S*., New York. 



New York 
SAMUEL FRENCH 

PUBLISHER 

28-30 WEST 38th Street 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 






•5H 71 



7 



"IN 1999." 

COSTUMES. 

Jean. — Handomc evening gown. Outer wrap. 

Rollo. — Evening clothes. 

Florence. — Dashing evening gown. Outer wrap. 
Dashing head dress. Large jet ear-rings. Jewels. 

LIGHTS. 

No changes. — Full white and amber. 

HAND PROPS. 

1. (2) Cigarette cases. 

2. Work-basket, (with usual fittings) 

3. Sewing (child's under-garment) 

4. Afsh-tray and match-safe combined. 

5. B.dl (door off stage) 

6. Threaded needle. 

7. Thimble. 

8. 5>pool of cotton. 

9. Strawberry emery. 

10. Pin cushion. 

n. fJap — (hanging up stage for Rollo) 
12. Wrist watch— (For Rollo) 

CURTAIN MUSIC:— "In The Sweet Bye and 

bye." 



CHARACTERS. 

t ean A New York woman 

Rollo'. \\\\\\\\\\ Her husband 

Florence Their friend 

Scene :— Jean's apartment in New York. 
Time:— Early evening, October, 1999 A. D, 



"IN 1999. 



1* 



Scene : — A handsomely furnished apartment. Door 
to bedroom r. 3. Door to hall l. i. Sofa up 
L. c. Hat raek back l. c, with Rollo's cap 
hanging on it. Small table R. C, with easy 
chairs R. and l. of it; ash tray — match safe 
and sewing basket, ( filled "with the usual 
fittings), on table. Other furniture as desired 
hangings, etc. 

DISCOVERED: — At rise Rollo is discoverer 
seated in an easy chair l. of table. He is a man 
of about thirty, dressed in evening clothes, 
with large bows on his patent leather pumps. 
He has been sewing. He is folding up a small 
garment, presumably for a child. Takes an- 
other, in the process of making, from the 
basket. Business of using emery, putting on 
thimble, knotting thread. Sezvs quietly. 

Jean, (from inside room R. 3) Rollo! 

Rollo. (szveetly) Yes, dear. 

Jean. What time is it? 

Rollo. (looking at ivatch on wrist) Quarter o* 
eight, dear. (pause, during which Rollo sews 
quietly on) 

Jean, (crossly) Rollo! 

Rollo. (sweetly patient) Yes, dear. 

Jean. Did you sew that button on my coat? 

Rollo. (pained, but still sweetly patient) Of 

5 



6 "IN 1999." 

course, dear. (pause; Rollo continues to sew 
quietly) 

Jean. Rollo! 

Rollo. (more than ever patient) Yes, dear. 

Jean, (crossly) \\ here's my cigarette case? 

Rollo. Under the bed, dear — (a growl from the 
bed-room) The baby was playing with it — and I 
didn't like to ask Patrick to look for it — He's so 
touchy this week and the housework has been 
heavy 

(Jean emerges from the room r. 3. She is a small 
woman of thirty-two, in evening dress; wrap 
over arm.) 

Jean, (above table) Housework heavy, eh'* 
Well what the devil do I pay that boy Patrick for? 
(crosses to sofa. Throws wrap on it.) 

Rollo. It's very hard to get anyone for domestic 
service. Jean, the boys all prefer the department 
stores. 

)'ean. (crossing above r. c. table) They're 
getting too damned independent 

(Rollo shocked at " damned.") 

Rollo. You must have had a hard day down 
town, dear. 

Jean. Yes — business is rotten — (lighting a 
cigarette) I'm getting tired of waiting fur that 
wave of prosperity. Ha — last year everyone -aid 
' Wait for I99<L the Tariff will reduce the price of 
food." 

ROLLO. Yes, and the cost of living will go 
down 

JEAN. Well, 1999 is almost over and we're still 
waiting. 

ROLLO. I >on't be discouraged, dear, I'm sure times 
will be better — and l\e been economizing — (shoiv- 



"IN 1999." 7 

hu, the garment he has been sewing) See, I've al- 
most finished little Rollo's 

Tean. (her face softening) Yes-Ro lo's getting 
to be quite a big boy now, isn't he? lets see-how 

old is he? 

Rollo. Eleven months— 

Jean. So he is— so he is— But I'll be late— 
(crossing to sofa) 

Rollo. You're going out? 

Tean Yes— some of the girls at the club 

Rollo. (hurt) Oh— you promised to take me to 
see Bernhardt in Ophelia 

Jean. Did I? (he nods) W ell, I'm sorry 
dear— but a matter of business came up and— any- 
how Bernhardt's getting old 

Rollo. Yes— but— this is her farewell perfor- 
mance — and , 

Tean Now, for Heaven's sake, Rollo, don t 
worry about it— I say I can't take you— and that s 
all there is to it. , 

Rollo. You never spend an evening at home any 
more— It's been weeks since we've had a cozy chat 

together. , . 

Jean. That's the New \ork lite— I cant help 

it a woman's got to see other women— She has to 

keep in touch with the world— and the club is the 

place where 

Rolio (bitterly, jean turns away, bored and 
annoyed, after first words) The club— always the 
club— and what about me— {pounds chest) Your 
husband— 1 have no club to go to— I sit here- 
night after night waiting for you to come home- 
(anguished tones— turning azvay ) If you do come 
home— waiting— trying to pretend I'm not lonely— 
but I am— I am lonely, Jean, lonely and unhappy. 
(sinks, crushed, in chair; breaks down and hides 

face in hands) 

Jean, (under her breath) Hell— (to Rollo) 



8 "IN 1999." 

Now, look here Rollo — don't be unreasonable — 
you've got the child to amuse you 

Rollo. (choking back his sobs) Ha — unreason- 
able — I suppose it's unreasonable to want to see 
something of my wife — unreasonable to ask some 
return for the freedom I gave up when I married 
you — but that's always the way — The man gives 
everything — the woman nothing 

Jean, (crossing thoughtfully to L. Turns, cross- 
ing half-way back r. Looking at Rollo closely) 
Rollo, are you sure you have given up everything 
so completely ? 

Rollo, What do you mean? 

Jean, (crossing further R. Looking fixedly at 
Rollo) T mean — (pauses meaningly) Florence 
— she's been coming here a good deal lately 

Rollo. (tossing his head defiantly) Well, what 
of it? 

Jean, (down to him) Only this — Your name 
and hers have been connected too often — it's been 
going around the club that since she made her 
monev — (pauses — turns away) But I won't re- 
peat the rumors 

Rollo. (trying to conceal his agitation) Why 
shouldn't you — unless you believe them: 

Jean, (dozen to Rollo. Looking into his eyes) 
No — I don't believe them — but be careful, Rollo — 
everyone knows you cared for her once — (cross- 
ing l.) 

Rollo. Ha — a school boy fancy — but if it were 
true — if I still cared for her — why shouldn't 1? 
It's a man's right to have a certain amount of at- 
tention — (rising) [t's for you to be careful, 
Jean — not to drive me by your neglect — to the 
point where 1 must turn elsewhere for sympathy — ■ 

{turns away and seats himself) That's all 

[ean. (crossing buck of table. Extinguishing 
cigarette on stand on table) It's useless your mak- 
ing a scene — [angrily crossing hack of table to 



"IN 1999." 9 

chair R. of it — stands) We've been all over this 
before 

Rollo. (turns pleadingly to Jean) Your child 
hardly knows its mother, Jean — and — (coquett- 
ishly) tell me — have I lost my beauty? Am I less 
attractive now — than when you married me? 

Jean, (bored. Stands r. of table) No — of 
course not — why can't you understand that married 
life can't be one long honey-moon? I'm no dif- 
ferent from other women — (leans over table to 
Rollo— patting cheek) you're morbid — that's what 
the trouble is 

Rollo. [bitter sarcasm) Morbid — well — why 
don't you go? Whatever happens don't be late for 
the club 

Jean, (irritably. Crossing up l. across front, to 
sofa, picks up coat) Very well — (opens door — ■ 
pauses — over shoulder) I'll try to be home early — 
but don't wait up for me 

(Turns and exits l. Rollo sits looking into space, 

then his eyes fall on the little garment and he 
buries his face in it. The door-bell, (off stage) 
rings L.) 

Rollo. (excited half-whisper) Florence! 
(chokes back sobs. Recovers with a defiant toss 
of head. Rises — goes to mirror, back c. Florence 
knocks on door l. Rollo hurriedly removes traces 
of his grief, arranges tie, smooths hair — Florence 
knocks again) Come in ! (Florence opens door — ■ 
stands revealed. Florence is a handsome woman 
of about thirty, wearing evening dress — Rollo, up 
c, starts at sight of her) Florence! 

Florence, (coming in and rushing tozvard hint 
from door) Rollo! (Rollo starts away from her, 
shrinks back toward chair l. of table) What's the 
matter? 

Rollo. You shouldn't have come. 



io "IN 1999." 

Florence, (standing, in suspense at l.) Why 
not? 

Rollo. (in frightened gasps) She has begun 
to suspect 

Florence. Who — your wife? 

Rollo. (nods) Yes. (sinks in chair l. of 
table) 

Florence, {starts. Annoyed rather than dis- 
mayed. Then resolutely ) Well — it had to come 
sooner or later — You're not happy — Rollo 

Rollo. (voice choked with emotion) ( >h, yes — 
yes, I am — quite, quite — happy — [breaks down 
and sobs) 

Florence. Oh, I know you say you are — but I 
can see — she neglects you — (Rollo looks at her 
in dumb assent) and I've come to-night to tell you 
that things can't go on like this 

Rollo. (faintly) Like — this? 

Florence. Yes — it was all a mistake — you 
should have married me — but of course 1 was 
poor 

Rollo. (turns to protest) But 

Florence. Oh — I'm not blaming you — a man 
must marry a woman who can make him com- 
fortable — and if Jean had treated you well- I'd 
have taken my medicine like a woman — but she 
hasn't — and in spite of all our care — rumor has 
begun to connect our names 

Rollo. (broken a)id sobbing, face in hands) 
That is why you mustn't come here any more 

Florence, (crossing to beside Rollo's chair, 1. 
of table) And what will you do with your life? 
(Rollo bows head on table. Florence crosses to 
behind his chair) \o — if rumor lias begun to 
work — then the time has come to justify it — 
(standing behind chair, puts arms around Rollo's 
shoulders from back 1 You know I love you dear - 
(draws Rollo into her arms) There's never been 
any other man in my life — Why should we both 



" IN T999.' 



11 



lose life's happiness because of a foolish n 1 ;^ 

Rollo. (brokenly turning to Iloklml) 
Don't-don't tempt me-Florence-I m not myself 
to-night— I'm all unstrung-I-I can fight you 
(breaks away' from embrace) 1 ought to order 
you to leave my house after what you ve said— - 
^Florence (standing back of Rollo's chair) 
But vou won't, Rollo, you won't-and the reason 
is— (draws Rollo back mtc her arms) that >ou 

"rollo" "no^o" you're wrong- (breaking away 
from embrace) but you're so strong-and Iffl only 
a man—iboivs head in hands, miserably) 

Florence, {sits on arm of Rollo's chair) 
That's not it, dear-you love me— (Rollo at- 
tempts denial) Yes, you do-and you re wasting 
your life trying to deny that love- but it wont be 
denied. It's nature calling upon us to right the 
wrong that has been done her-Come-(m£ 
and takes Rollo's hand-helps him to feet-lead, 
him to l. j Come— let me take you away— we 11 go 

to Italy until the fuss has blown over , 

Rollo. (breaks awax from her— oyer to chair 
p of table Florence is left standing thwarted 
near door L. 1) No-no-Oh-go please-please 
?0 — (sinks in chair r. of table) 

Florence, (stares fixedly at Rollo. Dramati- 
cally crosses back of table to Rollo ^seated m chair 
k of table. Seats herself on arm of chair) When 
l"cro vou'll come with me. (Rollo turns from her, 
lays head in hands on table) You've never seen 
Venice — have vou, dear? 

Rollo. (rapturously) Venice! 
Jean Yes— we'll see it together— (cheek 
to cheek) and out there— in our gondola— with the 
lio-hts and music around us— and the wavelets lap- 
Ding underneath, we'll dream away these last dead 
years— until there's nothing left but the present— 
ourselves — and love 



T2 " IN 1999" 

Rollo. (closing his exes in ecstacy) Ah— it 
would be beautiful— but— {leans away from 
Florence's arms) 

Florence. And you've never known love — 
How could you when I had the key to your heart? 
But we'll unlock love's treasure chest— and read 

life's meaning — in each other's arms 

Rollo. (raising clasped hands pleadingly) And 
you'll love me and protect me? {leans head trust- 
ingly against Florence) 

Florence, {tenderly, sweetly; caressing Rollo's 
hair) Always— always— {half rising) I'll shield 
you with my life— {rises— holds Rollo's hand) 
Come, dear— come— {leads Rollo l. In passings 
table Rollo's hand touches little garment. He stops. 
St una to realization — agonized at parting. Shows 
garment to her. She turns away. He sinks into 
'chair l. of table, to which he staggers. Buries head 
in hands in little garment, which he still retains. 
Florence crosses to him. Takes garment gently 
away from under face. Rollo gasps sob as she 
draws it out. Florence crosses back of table and 
drops it on it. Back to Rollo in chair) Come, dear 
— come — {helps him to rise. They take a few 
steps — pause — stand at arms length then, as if 
hypnotized, slowly fall into each other's arms. As 
they stand thus clasped — Jean throws open the door 
l. 1, on the threshold, horrified. Rollo sees her 
first. Breaks away from Florence's arms) 

Florence. {with back to Jean, but realizing 
who it is ) Jean ! 

JEAN. (about to strike then controlling her- 
self in a tense, unnatural calm voice) Well? 

FLORENCE (controlling herself. Holding 

Rollo's hand protectingly, as Rollo crouches, in 
fear, beside chair 1..) There's nothing to be ^;iid — 
You see how it is. 

1 1 an. {grimly) Yes. I see. {quietly) I 



"IN 1999." 13 

trusted you, Florence — (Florence drops her 
eyes) and I trusted him 

Florence. Forgive my saying so, Jean — but a 
man needs more than trust — You could have pre- 
vented this — hut now it's too late 

Jean. Yes — it's too late — (starting toward 
her) Damn you 

Rollo. (throwing himself between) Jean! 

Jean, (throws him to the floor) Don't touch 
me — (takes step as if to strike him as lie lies 
there. Controlling herself. Standing over him) 
How long have you been her — her master? 
(Rollo, with a moan } grovels on the floor) 

Florence, (crossing to Jean and stepping over 
Rollo) Don't blame him, Jean — I swear I never 
touched his lips till to-night. (Jean stares at her 
doubtfully) Oh, I tried — but your neglect has 
finally done what my love alone — would have failed 
to do — (to Rollo on floor — half kneeling) Come 

Rollo 

Jean, (throws Florence away from Rollo. 
Gets between her and Rollo) Yes — go with her — 
that shall be your punishment — go with her — I won't 
prevent you — soon your beauty will fade — and she'll 
tire of you — and then you'll begin to sink — and then 
the life of shame — (voice lower and lower) And 
then the river — (pointing to floor) now go — (cross- 
ing front to right of table) 

(Florence crosses to coat, gets cigarette case from 
it, seats herself on arm of sofa, contemptuously 
listening, cigarette in hand.) 

Rollo. (bitterly. Half -crawling across floor to 
chair L. of table) How easy it is to be just-^with 
your woman's justice — You say I've broken my 
marriage vow — well, what of your own? You 
promised to love and protect me and you haven't 
done it — it's the old story — one law for the wo- 



14 "IN 1999." 

man — another for the man — Oh— I know what 
you'll say — Custom — always custom — One 
member of the household must be pure and spot- 
less — Yes, but why must it be the man? Tell me* 
that. Why must it be the man? 

Jean. (turns to Rollo. Stern contempt) 
Civilization decrees it — and custom demands it — 
The laws of society were not made by you or me — 
They are stronger than we are — {lifting two fingers 
on high) because they are founded on wisdom and 
logic 

Rollo. (in broken passionate appeal) Yes — 
but it's pretty hard on a man — who makes one 
false step — to be damned forever — cast out as a 
thing unclean — while you women — can go your own 
way — committing sin after sin — and no one thinks 
the worse of you 

Jean. (scoffing and bitter) Ha — the usual 
paltry excuses — the cry of the Libertine forevei 
seeking to justify his crime — I've told you — I'm 
through with you — now go 

(Rollo rises pleadingly to Jean, who stares, and 
points to door, unforgiving. Rollo staggers 
blindly, sobbing, over to hat-rack, takes cap, 
suddenly remembers the child, looks to bed- 
room door k. 3, goes frantically across stage 
to Jean standing, hard, ai tabic. 1 

Rollo. But our child — you'll let me sec 

[ean. (extending arm, barring his way) You 
are not tit — (io ■ 

(ROLLO starts back as if struck -th u. s bbing. 
goes to FLORENCE, waiting for him Ath ex- 
tended hand. She leads him out —lie goes of) 
ahead of her She pauses at door, turns head 
to [EAN, gives a contemptuous laugh, over 
shoulder, exits \ 



"IN 1999." 15 

Jean, (stands in front of table, staring at 
vacancy. Puts hand back of her to tabic. Touches 
little garment- — starts — clutches it, staring at it in 
terrified misery ) Our child — my poor, little father- 
less boy — what can I tell him — when he asks where 
his father is ! For now- — I shall never, never be 
sure — that Rollo was his father! (stands sobbing, 
face buried in little garment) 



CURTAIN. 



DOROTHY'S NEIGHBORS. 

A brand new comedy in four acts, by Marie Doran. author of "The 
New Co-Ed, " "Tempest and Sunshine," and many other successful 
plays. 4 males. 7 females. The scenes are extremely easy to 
arrange; two plain interiors and one exterior, a garden, or. if neces- 
sary, the two interiors will answer. Costumes modern. Flays 2]/ 2 
hours. 

The story is about vocational training, a subject now widely dis- 
cussed; also, the distribution of large wealth. 

Back of the comedy situation and snappy dialogue there is good 
logic and a sound moral in this pretty play, which is worthy the 
attention of the experienced amateur. It is a clean, wholesome play, 
particularly suited to high school production, Trice, JO Cent's. 



MISS SOMEBODY ELSE. 

A modern play in four acts by Marion Short, author of "The 
Touchdown," etc. 6 males, 10 females. Two interior scenes. Cos- 
tumes modern. Plays 2J4 hours. 

This delightful comedy has gripping dramatic moments, unusual 
character types, a striking and original plot and is essentially modern 
in theme and treatment. The story concerns the advetures of Con- 
stance Darcy, a multi-millionaire's young daughter. Constance em- 
harks on a trip to find a young man who had been in her father's 
employ and had stolen a large sum of money. She almost succeeds, 
when suddenly all traces of the yrung man are lust. At this point 
she meets some old friends who ere living in almost want and, in 
order to assist them through motives bcn;vo!ent, she determines to 
sink her own aristocratic personality in that of a refined but humble 
little Irish waitress with the family that are in want. She not only 
carries her scheme to success in assisting the family, but finds 
romance and much tense and lively adventure during the period of 
her incognito, aside from capturing the young man who had defrauded 
her father. The story is full of bright comedy lines and dramatic 
situations and is highly recommended for amateur production. This 
is one of the best comedies we have ever offered with a large num- 
ber of female characters. The dialogue is bright and the play is full 
of action from start to finish; not a dull moment in it. This is a 
great comedy for high schools and colleges, and the wholesome story 
will please the parents and teachers. We strongly recommend it. 

- Price, 30 Cents. 



PURPLE AND FINE LINEN. 

An exceptionally prelty comedy of Puritan Xew England, in three 
acts, by Amita B. Fairgrieve and Helena Miller. 9 male, 5 female 
characters. 

This is the Lend A Hand Smith College , rize play. It is an ad- 
mirable play for amateurs, is rich in character portrayal of varied 
types and is not too difficult while thoroughly ] leasing. 

Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 

. ^— a— — — — — ^— — — — «— ■»— — ■■ 

SAMUEL FRENCH, 28-30 West 38th Street, New York City 

Niw aid Explicit Descriptive Catalogue Mailed Free on Request 



1 



The Touch-Down 

A comedy in four acts, by Marion Short. 8 males, 6 females, but 
any number of characters can be introduced in the ensembles. Cos- 
tumes modern. One interior scene throughout the play. Time, 2 l / 2 
hours. 

This play, written for the use of clever amateurs, is the story of 
life in Siddell, a Pennsylvania co-educational college. It deals with 
the vicissitudes and final triumph of the Siddell Football Eleven, and 
the humorous and dramatic incidents connected therewith. 

"The Touch-Down" has .the true varsity atmosphere, college songs 
are sung, and the piece is lively and entertaining throughout. High 
schools will make no mistake in producing this play. We strongly 
recommend it as a high-class and well-written comedy. 

Price, 30 Cents. 

Hurry, Hurry, Hurry 

A comedy in three acts, by LeRoy Arnold. 5 males, 4 females. 
One interior scene. Costumes modern. Plays 2]/i, hours. 

The story is based on the will of an eccentric aunt. It stipulates 
that her pretty niece must be affianced before she is twenty-one, and 
married to her fiance within a year, if she is to get her spinster 
relative's million. Father has nice notions of honor and fails to tell 
daughter about the will, so that she may make her choice untram- 
meled by any other consideration than that of true love. The action 
all takes place in the evening the midnight of which will see her 
reach twenty-one. Time is therefore short, and it is hurry, hurry, 
hurry, if she is to become engaged and thus save her father from 
impending bankruptcy. 

The situations are intrinsically funny and the dialogue is sprightly. 
The characters are natural and unaffected and the action moves with 
a snap such as should be expected from its title. Price, 30 Cents. 

The Varsity Coach 

A three-act play of college life, by Marion Short, specially adapted 
to performance by amateurs or high school students. 5 males 6 
females, but any number of boys and girls may be introduced in the 
action of the play. Two settings necessary, a college boy's room and 
the university campus. Time, about 2 hours. 

Like many another college boy, "Bob" Selby, an all-round popular 
college man, becomes possessed of the idea that athletic prowess is 
more to be desired than scholarship. He is surprised in the midst of 
a "spread" in his room in Regatta week by a visit from his aunt 
who is putting him through college. Aunt Serena, "a lady of the old 
school and the dearest little woman in the whole world," has hastened 
to make this visit to her adored nephew under the mistaken impression 
that he is about to receive the Fellowes prize for scholarship. Her 
grief and chagrin when she learns that instead of the prize Robert 
has received "a pink card," which is equivalent to suspension for poor 
scholarship, gives a touch of pathos to an otherwise jolly comedy of 
college life. How the repentant Robert more than redeems himself, 
carries off honors at the last, and in the end wins Ruth, the faithful 
little sweetheart of the "Prom" and the classroom, makes a story of 
dramatic interest and brings out very clearly certain phases of modern 
college life. There are several opportunities for the introduction of 
college songs and "stunts." Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL PRENCH, 28-30 West 38th Street, New York City 

and Explicit Descriptive Catalogue Mailed Free on Request 



The Return o: 



LIBRARY OF CONGRESS 



006 773 544 4 



A coined-.- in fcur acts, by Marion Short, author of "The Varsity- 
Coach," '"The Touch-Down/' etc, 6 males, 8 females. Costumes 

ri 1 . One interior scene. 

This comedy h founded upon and elaborated from a 'farce comedy 
in two acts written by J. H. Horta, and originally produced at Tuft's 
College. 

am Poynter Jinks, a Junior in Hoosic College (Willie Collier 
type),' and a young moving picture actress (Mary Pickford type), are 
the leading characters in this lively, modern farce. 

Thomas Hodge, a Senior, envious c.f the popularity of Jinks, wishes 
to think vip a scheme,, to throw ridicule upon him during a vii-.it of 
the iloosic Glee Club to Jinks's home town. Jinks has obligingly acted 
as a one (.lay substitute in a moving picture play, in which there is a 
lire scene, and this gives Hodge his cue. He sends what seen 
be a bona ride account of Jink's heroism at a Hoosic 'fire to link's 
home paper.' Instead of repudiating his laurels as expected, Jinks 
decides to take a flyer in fame, confirms the fake story, confesses to 
being a hero and is adored* by all the girls, to the chagrin and dis- 
comfiture of Hodge. Of course, the truth comes out at last, but 
Jinks is not hurt thereby, and his romance with Mimi Mayflower 
comes to a successful termination. i 

This is a great comedy for amateurs. It is full of funny situations 
and is sure to please. Price, 30 Cents. 



J 



une 

A most successful comedy-drama in four acts, by Marie Dovan, 
author of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's 
Neighbors," etc. 4 males, 8 females. One interior scene. Costumes 
modern. Plays 2% hours. 

This play has a very interesting group of young people. June is 
an appealing little figure, an orphan living with her aunt. There are 
a number of. delightful, life-like characters: the sorely tried likeable 
Mrs. Hopkins, the amusing, haughty Miss Banks of the glove depart- 
ment, the lively Tilly and Milly, who work in the store, and ambitious 
'Snoozer; Airs. Hopkins's only son, who aspires to be President of the 
United States, but finds his real sphere is running the local trolley 
car. The play is simplicity itself in the telling of an every-day story, 
and the scenic requirements call for only one set, a room in the 
boarding house of Mrs. Hopkins, while an opportunity is afforded to 
introduce any number of extra characters. Musical numbers may be 
introduced, if desired. Price, 30 Cents. 



Tempest and Sunshine 

A comedy drama in four acts, by Marie Doran. 5 males and 3 
females. One exterior and three interior scenes. Plays about 2 hours. 

Every school girl has revelled in the sweet simplicity and gentfe- 
of the characters r ; in the charms that Mary J. 1 1 

command? in her story of "Tempest and Sunshine." We can Btrongly 
amend this play as one of the best plays for high school pro- 
duction published in recent years. ice, 30 t'< 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free on Request 

tjuest 



